Cult indie rockers Tribes have split after four years together. The members of the London-based group made the announcement on their Facebook.com page on Thursday (07Nov13), thanking fans for their support.
They wrote, "We are sad to announce that we will no longer be writing and performing together as Tribes... We are proud of what we achieved together. You gave us the best four years of our lives so far."
The Tribes formed in 2009 and consisted of former Operahouse members Johnny Lloyd, Dan White and Jim Cratchley and White's childhood friend, Miguel Demelo.
The bandmates released two EPs in 2011, titled We Were Children and When My Day Comes, and their first full-length album, Baby, debuted in 2012, the same year they were named Best New Band at the NME Awards.
Their second record, Wish To Scream, came out earlier this year (13).

Actor Dan Aykroyd has lost his bid to shut down a Blues Brothers tribute show in the Netherlands. The funnyman and his late sidekick John Belushi's widow Judith joined forces in an attempt to halt touring show I'm a Soul Man - a Tribute to the Blues Brothers, but lawmakers at The Hague District Court have ruled the couple cannot claim ownership for a suited look that has been adopted by bluesmen for decades, according to The Hollywood Reporter.
Aykroyd argued that he and Belushi came up with the Blues Brothers' style and swagger on U.S. comedy show Saturday Night Live and maintained the look for a cult 1980 film, but the officials refused to shut down the Dutch gigs, which feature Canadian brothers G. and C. Dahl.
The plaintiffs also failed to convince court officials that elements from the show, including spoken lines and cameos by Aretha Franklin and James Brown lookalikes, were lifted from the Blues Brothers film.
Announcing his decision in court, Judge M.P.M. Loos said, "The claimants did not contest that the appearance of Jake and Elwood Blues, namely a duo wearing a black suit, with a white shirt, black tie, white socks, black shoes, black sunglasses, black 'pigskin' hats and sideburns are similar to the dress style of a number of blues legends from the 1950s, such as Reverend Gary Davis and John Lee Hooker.
"The claimants even stated at the hearing that Aykroyd and Belushi were inspired for The Blues Brothers by the performers of the so-called hipster style of Electric Blues performers from Chicago.
"The Dutch Copyright Act does not grant exclusive right to a person working on the basis of his own distinctive style. This judgment is based on the idea that copyright protection of abstract forms such as distinctive style features would entail an intolerable restriction on the creative freedom of an author and would therefore act as a brake on cultural developments."

ABC
There are a lot of things that ABC’s Scandal gets right. Their lead character Olivia Pope (played by Kerry Washington) is practically a lifestyle guru, and the way in which creator Shonda Rhimes works race and racial politics into the drama is also pretty brilliant. Like any good drama there are plenty of complex relationships that drive the storylines; Olivia Pope is in a relationship with President Fitzgerald Grant, and her faithful Gladiators find themselves in all kinds of complications due to love interests who always seem to clash with their professional lives. But there’s one couple in particular that deserves our attention, and that would be the one between Cyrus Beene (Jeff Perry) and James Novak (played by Dan Bucatinsky, who was nominated for a 2013 Emmy for the role).
On the one hand, Cyrus and James are obviously not the first well-written gay couple on television. But they are different. Cyrus is, for one, a villain of sorts. He’s the White House Chief of Staff and the President’s right-hand man. He’s an admitted political animal, a monster even; he’s terrifying and brutal, and he’s totally in love with his husband. But because James is a correspondent for the White House – and constantly looking for the very truths that his husband is constantly trying to cover up – their relationship is beyond complicated. In one unforgettable second season episode Cyrus literally puts a hit out on his hubby, in an attempt to keep a very damaging story about rigged votes from becoming public. Don’t worry -- they work it out in the end, but it's all very intense, to say the least.
Shonda Rhimes handles the relationship between Cyrus and James in a way that is similar to her treatment of Olivia and Fitz. For her two main characters, the interracial aspect of their love affair is not where the complication lies, although it is a fact. And for Cyrus and James, their attempts to live and love together in a predominantly heterosexual environment is sometimes an issue, but also not the source of the drama. As a result, they cease to be ‘the gay couple’ on the show and become, rather, one of our favorite couples to watch. As the third season takes off and the couple continues to work out their issues (with a new baby on board, no less), we can’t wait to see where Cyrus and James take the ever-exciting series that is Scandal.
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It’s been over a week since the Breaking Bad finale, and somehow we’re all managing to move on. Thankfully, the series ended with a loud bang that conveniently tied up loose ends without seeming contrived, which is a massive accomplishment for a show as hyped and revered as Breaking Bad. Not all series make their mark, though, and audiences are sometimes left angry or confused (who can really make up their mind about Lost?!).
Here’s a spoiler-filled look at some of the best and worst television series finales.
The Good
The Wire: "-30-"How do you end a show that’s more realistic than reality? The Wire took audiences on a 5 season rollercoaster ride into the politics of Baltimore, whether they were in the streets or in the senate. Throughout the series, Jimmy McNulty’s soul had been slowly deteriorating to the point that in the final season, he literally manufactured a serial killer in a desperate attempt to get the police department off its ass. In the series finale, McNulty redeems the little of his soul that he can by bringing the homeless man that he basically kidnapped for his own agenda back to Baltimore. As he stops to stare at the Baltimore skyline, a montage of characters’ futures play out against the original Blind Boys theme song, and all the futures point to one thing: nothing has changed. The finale was perfect for a show that was determined to show the perpetuation of crime and corruption of a city and the bravery of those who try to fight it.
M*A*S*H: “Goodbye, Farewell and Amen” Thirty years later, the M*A*S*H* series finale still stands as the most-watched television series finale of all time. Hawkeye goes cray, Klinger stays in Korea, Pierce and Hunnicutt give that famous salute, and a literally written-in-stone “Goodbye” made millions of people cry like babies. Almost 125 million people watched the finale, and at the time of its airing, commercial slots during the show were going for $4,500 per 30-second block (which is equal to over $1 million in today’s standards), more than the price for ad slots during 1983’s Superbowl. The finale also created the totally awesome urban legend that it caused New York City’s public plumbing system to break down at the end of the episode, due to everyone waiting until the end of the show to use the bathroom.
The Sopranos: “Made In America”One of the most controversial series finales in television history, The Sopranos’ “Made In America” is still sparking debates about whether it was a total copout or a stroke of genius. Yours truly is putting it in the latter category. Many fans initially didn’t understand the finale and TV service providers were hilariously inundated with calls about people’s screens going black after the episode ended. There were at least 2 hints to the finale’s ending earlier on in the season, both involving Tony Soprano’s conversation about death with his brother-in-law, Bobby. Bobby mentioned that in being a gangster, death creeps up on you when you least expect it and it must feel like everything cutting to black. There was also a flashback to this conversation in the penultimate episode of the series. So what’s the confusion? Tony’s dead, y’all. The finale was realistic through Tony’s eyes, and the fact that it’s been talked about for so long makes it truly legendary.
Six Feet Under: “Everyone’s Waiting” Six Feet Under is one of the most poignant television series ever, and its ending was one of the most creative and satisfying endings in the medium. While the precocious Claire Fisher drives off in her now-iconic green hearse to start a new life, flash-forwards of all the characters’ lives play out against Sia’s “Breathe Me.” Careers, marriages, tragedies, and happiness are depicted for all the characters, with the famous white screen epitaphs coming up for even the beloved Fishers. We find out that Claire manages to outlive everyone (and marries hot Republican Ted!), just as the screen cuts back to present-day Claire driving down the proverbial and literal road of life. Giving the audience a glimpse of the characters’ futures was the perfect ending to the series, and if you weren’t bawling your eyes out by the last 5 minutes, your name is probably Margaret Chenowith.
Honorable mentions: Freaks and Geeks, Angel
The Not-So-Good
Seinfeld: “The Finale” Anyone know what the hell happened with Seinfeld’s finale? The episode was strangely off-mark in relation to the rest of the sitcom, and finds the cast having to finally pay for their self-serving ways. After failing to help out a fat dude getting held up at gunpoint, the gang ends up in court for a rather underwhelming cameo marathon. The random confessions added to the corniness and were also strangely off-mark. Overall, the episode felt as though some Seinfeld-haters took over the writers’ studio and wrote the episode themselves. If there was a joke in “The Finale,” it must’ve been an inside one.
Dexter: “Remember the Monsters?” Oh, Dexter. What happened? Everyone’s favorite sociopath ended up not only getting away with it all at the end, but he also offed his sister, put on an invisibility cloak to steal her body in plain view, and dumped her body in the ocean. Actually, if the series had ended with Dexter riding off into the storm after disposing of Deb, maybe the response would’ve been different – at least there would’ve been some kind of ambiguity, as opposed to the total certainty of Dexter becoming a lumberjack. Dexter’s finale was so disappointing because the series started off as a truly killer show (no pun intended). It started to lose its clout after season 3, and even though season 8 was underwhelming, fans still held their breaths for a mind-blowing finale, only to have the series end with a whimper. There was just too much wasted potential in how the show could’ve ended. “Remember the Monsters?” was more than a copout – it was straight up blasphemy.
St. Elsewhere: “The Last One” St. Elsewhere gave us many things – great stories, great characters, and, most importantly, Denzel Washington. “The Last One” could’ve gone in many directions, but writers instead decide to go Copout Route #2 – instead of doing the #1 “everybody dies!” routine, St. Elsewhere copped out with a lame deus ex machina. In this case, the series was all in the mind (and snowglobe) of Tommy Westphall, Dr. Westphall’s autistic son. The ending disappointed many viewers, since it’s painfully obvious that the best ending would’ve been a simple 1 hour montage of Denzel Washington pics.
Roseanne: “Into That Good Night” The whole “Oops, this was just a dream, tee hee!” routine that St. Elsewhere pulled was surprisingly recycled for the series finale for Roseanne. The groundbreaking series ended up being nothing but a story that Roseanne was writing. Oh, and Dan was dead! How rude! The finale was so disappointing because the entire last season was almost embarrassing in how far-fetched it was, and the final episode only reaffirmed audiences’ suspicions that the writers really had no idea what they were doing.
Honorable mentions: Battlestar Galactica, Entourage
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Okay, it's a bold statement, but I stand by it: 1984 was the year that Top 40 radio achieved perfection. Spurred by the twin successes of MTV and Michael Jackson's Thriller, radio playlists were fully shaken out of the doldrums they'd been in since the disco slump of 1979. Colorful and photogenic British new wave and synth pop acts had been making slow inroads into the Billboard Top 40 since Gary Numan's "Cars" back in early 1980. But the UK pop stars of the day were making overt plays for the American airwaves, and established stateside artists ranging from Prince and Bruce Springsteen to Billy Joel and Tina Turner were responding with some of their biggest-selling albums. And in the middle of it all, two newcomers named Cyndi Lauper and Madonna Ciccone were offering very different -- although equally interesting -- new takes on what it meant to be a female pop star. Here, in chronological order by the week they debuted on the chart, are a baker's dozen of 1984's biggest and best. We could have chosen at least as many more.
Tina Turner -- "Let's Stay Together" (chart debut February 18, reached #26)
In one of the first cases of a vintage R&amp;B star being brought back by younger musicians, a thoroughly washed up Tina Turner was recruited by Martyn Ware and Ian Craig Marsh of the electro-pop trio Heaven 17 to record vocals for a song by their side project the British Electric Foundation. That track led to a hit single with a stark but impassioned synth-driven take on the Al Green classic "Let's Stay Together." That single's U.K. chart success led Capitol Records to sign Turner to an album deal, resulting in the massive-selling Private Dancer LP. She had bigger songs later in the year, including the career-defining #1 "What's Love Got To Do With It," but this smaller hit still sounds the best.
Tracey Ullman -- "They Don't Know" (chart debut March 17, reached #8)
British actress and comedian Tracey Ullman later became a beloved TV figure (not least because she gifted us with The Simpsons), but this note-for-note cover of the late Kirsty MacColl's brilliant 1979 girl-group homage was the first we ever heard of either of these talented women. Literally: that explosive "BABY!" that slams home the final verse is MacColl's powerful voice, not Ullman's charming but thin instrument. And yes, that's Paul McCartney at the end: Ullman was co-starring in his big-budget vanity project Give My Regards To Broad Street when the video was filmed.
Billy Joel -- "The Longest Time" (chart debut April 7, reached #14)
After a string of albums that seemed like increasingly naked attempts to be taken seriously as a songwriter, Billy Joel made the best album of his career just by going back to the '50s R&amp;B and pop singles that had been his first musical love. An Innocent Man had bigger hits, like "Tell Her About It" and "Uptown Girl," but perhaps the best was this doo-wop homage that doubled as an atypically sincere love song for his then-new sweetheart Christie Brinkley. Both his later albums and the marriage went south, but whadaya gonna do? To their credit, Joel and his touring band were unafraid to look like complete ninnies in this silly video taking place at a high school reunion.
Madonna -- "Borderline" (chart debut April 14, reached #10)
After the dancefloor-centric singles "Everybody," "Burning Up" and "Holiday," Madonna proved her pop suss with this incredibly hooky single. It's as easy to move to as any of her other early tracks, but the beat was de-emphasized by the bell-like synth riffs and addictive synth-bass pulse. Brazilians call the sense of aggreeable melancholy on display here saudade, and it gives "Borderline" an elegance that her next couple of singles, "Lucky Star" (the video of which was extremely important to my 14-year-old self for obvious reasons) and "Like A Virgin," would lack.
Cyndi Lauper -- "Time After Time" (chart debut April 21, reached #1)
The goofy "Girls Just Want To Have Fun" made it seem like Cyndi Lauper was going to follow Nena's "99 Luftballoons" into the annals of one-hit-wonders, but this heartbreaking ballad made it clear that despite her perhaps-questionable fashion sense, she was a genuine talent. She's So Unusual was jam-packed with hits ranging from "She Bop," the most overt hit about female masturbation until DiVinyls' "I Touch Myself," to a gorgeously minimal cover of Jules Shear's "All Through the Night." But "Time After Time" was the only one awesome enough that no less than Miles Freakin' Davis recorded it.
Night Ranger -- "Sister Christian" (chart debut April 21, reached #5)
All together now: MOTORIN'! The archetypal power ballad, "Sister Christian" was the song that made it okay for girls to like poodle-haired dudes in spandex and mascara. Although this means Night Ranger were therefore partially responsible for some of the worst hits of the pre-"Smells Like Teen Spirit" era, the song's use in the supremely bizarre home invasion scene in Paul Thomas Anderson's Boogie Nights almost makes up for "When I See You Smile" by Bad English.
Duran Duran -- "The Reflex" (chart debut April 28, reached #1)
The original mix of "The Reflex" that opened Duran Duran's third album, Seven and the Ragged Tiger, was kind of a botch, sluggish and overlong. For the single, the Durans enlisted Chic's Nile Rodgers (yes, the same dude who made Daft Punk's "Get Lucky" so awesome) to remix the song from top to bottom, and his tighter, punchier and more inventive take scored the band their first American #1 hit. As primitive as it seems now, this video looked positively state of the art in the spring of 1984. It was mildly controversial in the halls of Levelland Junior High, as I recall: the sequence that starts around 3:20 was rumored to suggest...um, y'know...it's a giant wave of white fluid hitting audience members in the face, you figure it out.
Bruce Springsteen -- "Dancing in the Dark" (chart debut May 26, reached #2)
Born in the USA was lavishly praised from nearly all corners critically, but living in a small west Texas town at the time, I distinctly remember a lot of Springsteen's biggest fans around me finding "Dancing in the Dark" an overt slap in the face. Powered by a nagging synth riff and a booming, Phil Collins-like four-on-the-floor snare, it sounded like a "f---y little disco song" to the "Born To Run"-loving jocks. I found his willingness to listen to recent musical trends rather encouraging, but I was mostly just into the video for the really cute girl he pulls out of the audience at the end, who a decade or so later turned out to be Courteney Cox.
Dan Hartman -- "I Can Dream About You" (chart debut June 2, reached #6)
A primo piece of Hall and Oates-style '80s blue-eyed soul from a writer-producer who'd had a minor disco-era hit called "Instant Replay," "I Can Dream About You" was somewhat notorious at the time for its video. Not the one above, which was rarely if ever shown on MTV, but the actual clip that MTV had in heavy rotation at the time, which is seen in the TV screens in this version. That clip was a scene from the now-forgotten teen-angst flick Streets of Fire, in which a doo-wop quartet (including future indie director Robert Townshend and Forrest Gump costar Mykelti Williamson) lip-syncs Hartman's vocal. To this day, there are probably people who adore this song who have no idea that it was sung by a baby-faced white guy with a really bad perm.
Prince and the Revolution -- "When Doves Cry" (chart debut June 9, reached #1)
Nearly three decades later, it can be hard to remember just how weird this song sounded when it first hit the airwaves with a burst of Hendrixian feedback and some mumbled chanting. As skeletal as it is undeniable (ever notice that it doesn't have a bass line?), "When Doves Cry" was the song that confirmed that Prince was even weirder, and even more talented, than we had thought. As a musician, anyway: Purple Rain is a strong contender for the coveted title of Worst Film With The Greatest Soundtrack.
John Waite -- "Missing You" (chart debut July 21, reached #1)
The thing about John Waite, who had been the leader of a short-lived rock band called The Babys before he went on to a solo career (and who later was the frontman of the aforementioned Bad English), is that there's this weirdly cynical vibe about him. You just can't believe a word the guy sings. Ironically, that's what makes the chorus "I ain't missing you at all" work as well as it does: a more empathetic singer wouldn't put across the paradox nearly so well.
Bananarama -- "Cruel Summer" (chart debut August 11, reached #9)
Back in the pre-internet 1980s, it sometimes took literally years for a British hit single to attract enough of an American audience to hit the U.S. charts. Bananarama's "Cruel Summer" was the "Blurred Lines" of the summer of 1983 in their native land, but unless you were the kind of person who haunted the import section of your local record shop, it was a little over a year later before it reached your ears. Even though it had been the opening track on the trio's self-titled second album, released in the spring of 1984, it hadn't been London Records' first choice for an American single off the album. That honor went to "Robert De Niro's Waiting," a bouncy little tune that underneath its happy-go-lucky surface appears to be about the post-traumatic stress of a sexual assault victim.
George Michael -- "Careless Whisper" (chart debut December 22, reached #1)
When George Michael and Andrew Ridgeley started Wham!, the duo meant for their music to be a cynical commentary on Thatcherite economic policy. Seriously: go listen to their first single, "Wham Rap! (Enjoy What You Do)." Or better yet, don't: it's absolute rubbish. When a song as fluffy as "Wake Me Up Before You Go-Go" is a huge improvement over your prior output, it's clear that you started from a bad, bad place. But that first American hit's follow-up "Careless Whisper" (released as a George Michael solo single everywhere but the US, where it was somewhat confusingly credited to "Wham! featuring George Michael") was the first indication of Michael's Elton John-like talent. And you can't fault that sax solo: it just encapsulates the 1980s, doesn't it?
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Ever look back at some of today's music videos and think, "Man, I wish at least one of the dudes had a comically long mustache?" Well, lucky for us, the Beastie Boys made that very video in 1994. Directed by Spike Jonze, "Sabotage" was made as an homage to 70s cop shows like Starsky and Hutch and Hawaii Five-O, and even 20 years later is still one of the most weirdly-engaging music videos to watch. Here's why.
Yeah, Cops Sagged Their Pants Too in the '90sThat the Beastie Boys were trying to make a '70s cop parody, yet still wore pants that were three sizes too big is just downright comical. It also forever cements the video's place in the annals of MTV Ninetydom. Almost brings a tear to my eye just thinking about it.
Funny Names Mean Big LaughsMost music videos nowadays are bloated epics that try to attempt to tell a story in a few minutes. Yet by simply giving their characters colorful names in the fake credits at the beginning, like Bobby the Rookie, Cochese, and "The Chief," the Beastie Boys succeeded in telling a full-on story in just over three minutes. Besides, names like John and Dan are just too boring.
Wigs Were CoolHair may have been in during the '70s but Jonze and the Beasties took the mop top to a whole new level back in '94. Whether they were grey, chestnut brown or pearly white, there was no shortage of big gaudy wigs in "Sabotage." Now if only they could have been as authentic with the vehicles used in the video. I would have like to have seen at least one Town Car being driven.
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FOX
Fans of the TV show Bones, which returns tonight at at 8 PM ET on Fox, have a love-hate relationship with one of the series' oddest little quirks: approximately four times per season, an episode will stop dead for about 60 seconds while the characters talk enthusiastically about some cool feature or another on the Toyota they're riding in. While some viewers find the in-show ads obnoxiously intrusive, others (including myself), actually appreciate how obnoxiously intrusive they are: by making the ad sections as blatant as possible, the show's producers are implicitly acknowledging how silly the practice is. You can tell that they're uncomfortable with the practice, though: clips of the Toyota scenes that show up on YouTube invariably get pulled almost immediately on copyright infringement claims.
Since the rise of the DVR means many of us hardly ever see commercials anymore, TV shows have gone ever further into this kind of integrated product placement. It's not just about the giant red and white Coca-Cola glasses in front of the American Idol judges anymore, or even things like that recent Project: Runway episode that was a barely-veiled 90-minute commercial for Yoplait's new Greek frozen yogurt. Brands are increasingly making their way into the scripted dramas and sitcoms.
Like Bones, Cougar Town has had season-long relationships with sponsors: for its second season, the critically-acclaimed sitcom's characters quite often found themselves lounging on the patio outside an ostentatiously prominent Subway restaurant. This culminated in a scene between Travis (Dan Byrd) and Laurie (Busy Philipps) in which the teen proclaimed his love for Subway's huge sandwiches and cheap prices. (And yes, that's Community's Danny Pudi, in character as Abed, behind them: this was the punchline of a season-long running gag on the second season of Community.)
After moving to TBS for its fourth season, Cougar Town started a new relationship with Target. Not only did series co-stars Ian Gomez and Josh Hopkins do an in-character commercial for the retailer that aired during every episode, an entire episode featured a subplot in which the perpetually broke Bobby (Brian Van Holt) treats a day inside a 24-hour Target as a miniature spa vacation. Modern Family had already gone to the red-and-white well, setting one storyline of a Christmas episode in a Target where mother and daughter duo Claire (Julie Bowen) and Hayley (Sarah Hyland) were attempting to finish all of the family's holiday shopping in 45 minutes.
The practice has become so widespread that the more self-aware shows have begun mocking themselves for it, such as a memorable break in an episode of 30 Rock where an ad for Snapple shows up in the midst of Liz Lemon (Tina Fey) complaining about the practice of integrated product placement in scripted TV. Others are more relaxed about the concept. On Late Night with Jimmy Fallon, Fey's erstwhile "Weekend Update" co-anchor has revived the practice of occasionally doing live ads at the beginning of his show's commercial breaks. And why not? After all, Johnny Carson did the exact same thing on The Tonight Show 50 years ago. Everything old is new again.
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Models and musicians – the pairing is as perfect as pancakes and syrup. Just last week, U2 bassist Adam Clayton married his model girlfriend Mariana Teixeira de Carvalho in Dublin, entering a long, distinguished line of rockers who have said “hell yeah” to fashionistas and models around the globe.
Here’s a rundown of some of the best model/rocker pairings over the years.
Kate Moss and Pete Doherty Kate Moss may be happily married to The Kills’ Jamie Hince, but before there was Jamie, there was her busted relationship with Pete Doherty. Moss was hardly a vision of innocence herself, but hooking up with a notorious, self-admitted junkie made for pure tabloid gold. Drugs and scandal followed, with Doherty claiming everything from “loving her bones” to saying that Moss was a “nasty old rag” who once kicked him in the head. In his mind, the pair broke up because, according to Doherty, “I can’t buy her diamonds.”
Billy Joel and Christie Brinkley The Piano Man definitely loves his statuesque blondes, and supermodel Christie Brinkley is no different. Brinkley starred in Joel’s video for “Uptown Girl,” which, contrary to popular belief, wasn’t actually written about Brinkley, but another one of Joel’s model exes – Elle McPherson. The pair married in 1985, but their marriage was strained due to Joel’s philandering and love for booze, and they finally divorced at the end of 1993.
Jack White and Karen Elson This couple was smoking hot and seemed like they were made for each other. White and Elson met when the former starred in the White Stripes video for “Blue Orchid,” and the pair married in 2005. Although they divorced 6 years later, they were awesome enough to hold a divorce party in 2011, so everyone thought that all was well between the two. However, lately Elson has accused White of basically being a douchebag (who really has it out for the Black Keys’ Dan Auerbach, for some reason), and White has countersued her in what’s become a messy ending for the once-reigning Couple of Cool.
Caleb Followill and Lily Aldridge Son of a preacher turned rock star who has fire-sex meets California girl at overexposed music festival, and they live happily ever after – that’s essentially the story of Kings of Leon’s Caleb Followill and Victoria’s Secret Angel Lily Aldridge. The two met at Coachella in 2011 and married later that year. Their daughter, Dixie Pearl Followill, was born in June last year.
Simon Le Bon and Yasmin Parveneh Not all model/rocker pairings end badly. Simon Le Bon has been married to Yasmin Parveneh since 1985. At the time of their marriage, their relationship was all over the gossip headlines – Le Bon was the lead singer of Duran Duran, one of the biggest bands of the 1980s, and Parveneh herself was one of the highest-earning models of the decade.
Adam Levine and Behati Prinsloo Previously trying his darndest to be the Leonardo DiCaprio of the pop world, Adam Levine has had a long list of models by his side. His latest model girlfriend, Behati Prinsloo, is set to be his future wife, putting to rest his image of the perpetual pop bachelor. Though the pair had briefly broken up and Levine wasted no time in hooking up with model Nina Agdal, the two got back together and decided to get engaged.
Agyness Deyn and Albert Hammond, Jr. When Agyness Deyn and Albert Hammond, Jr. hooked up in 2008, it seemed like a match made in hipster heaven. Usually seen in paparazzi photos holding hands and walking dogs, the relationship was rumored to be much rockier than it initially seemed, and the couple finally broke up a year later. Deyn has definitely dated her share of rock stars, including The Paddingtons’ Josh Hubbard, Phantom Planet’s Alex Greenwald, and Last Shadow Puppets frontman and solo artist Miles Kane. The world is waiting for a supergroup of all the model’s exes, hopefully called Deyn’s Discards.
Rod Stewart and Rachel Hunter Like Billy Joel, Rod Stewart likes his women tall and blonde (and nearly identical-looking). In 1990, Stewart married model Rachel Hunter, the woman responsible for millions of young men saving up their dollars for Sports Illustrated issues in the 90s. The two separated in 1999 and officially divorced in 2006, and Hunter went on to have it going on as “Stacy’s Mom,” while Stewart – what else? – married another model.
Iman and David Bowie Arguably one of the coolest couples ever, Iman and David Bowie have been married since 1992. The union of Ziggy Stardust and the most gorgeous advocate for social aid had the entertainment world in a frenzy. Forget haters, barely anyone thought that this marriage would last, but twenty-one years later, the couple is still going strong.
Axl Rose and Stephanie Seymour From the documentation of his behavior in the media, it’s safe to say that anyone who dates Axl Rose is probably making up for some bad karma in a past life. Allegations of physical abuse, theft, and violence Rose’s relationship with Seymour, but for some reason, the couple still decided to get engaged. The engagement was short-lived, due to Rose accusing Seymour of being unfaithful (because why would anyone cheat on a prize like Axl Rose?) and the couple finally broke up.
Keith Richards and Patti Hansen Who would’ve ever thought that Keith Richards would be the guy to be married to his wife for thirty years? Richards married model Patti Hansen in 1983 and have been together since then. A couple that makes it through drugs, rock and roll, Mick Jagger, and everything in between, is definitely a couple that stays together.
Paulina Porizkova and Ric Ocasek When these two hooked up, most people were scratching their heads, thinking “….what?” The gorgeous, then-19 year old Paulina Porizkova was featured in the Cars’ video for “Drive,” and although lead singer Ric Ocasek was still married at the time (and 35 years old), the two started dating and have been together ever since. Porizkova has also gone on to say that Ocasek is better-looking than George Clooney.
Paul McCartney and Heather Mills And the award for the most notorious rocker/model pairing goes to Paul McCartney and Heather Mills. Mills is a former model, famous for 2 things: having a prosthetic limb as part of her leg and for trying to suck Sir Macca drier than anyone else ever could. The pair married in 2002 and divorced 6 years later, with the divorce becoming a highly-publicized affair for the settlement amount that the celebrities were fighting for. Mills wanted £125 million – McCartney offered £15.8 million. Because is £15.8 million is obviously pennies, Mills kept fighting for more, eventually ending up with a total of £24.3 million, plus £35,000 per year to take care of their daughter. The best part of this is that Mills fancies herself to be a charity campaigner.
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Carnival Films
Break out the tea towels! Filming on Series 4 of Downton Abbey has wrapped, and though those of us Stateside won't be able to catch up with the Crawleys until January, photos from the production have been released to whet our appetites for the many heated arguments about the propriety of white-tie attire versus black-tie attire to come. Specifically, we're getting our first glimpse of the three new men in the life of Michelle Dockery's Lady Mary, following the death of her husband Matthew Crawley (Dan Stevens) at the end of Series 3. “We do see quite a bit of the Mary she was before she met Matthew, that icy iron-maiden quality," producer Gareth Neame tells TV Guide. "It's going to take an awful lot to get her back to life." Let’s get to know the three gents in her orbit better.
Jack Ross (Gary Carr)
The dashing young jazz singer from Chicago, pictured above, meets Lady Mary in the third episode, after Branson, Rose, and Aunt Rosamund force her finally to leave Downton after her extended period of mourning. They take her to a swinging club in London called the Lotus, where Ross helps her come out of her shell. "The spine of the new season is how Mary moves from total bereavement into turning to life again," Neame says. "Ross is very positive, ambitious and charming. And we get to see him perform."
Lord Gillingham (Tom Cullen)
Carnival Films
Around the same time, Lady Mary reacquaints herself with old family friend Lord Gillingham at one of Downton’s lavish parties. He helps her out with the tangled mess of inheritance taxes surrounding Matthew’s assets. "Mary is not looking for anyone to replace Matthew, but she is, of course, a beautiful, eligible young widow, so inevitably there is going to be quite a lot of male interest," Neame says. "Gillingham is a very useful friend to Mary at a time when she's not able to make decisions."
Charles Blake (Julian Ovenden)
Remember Evelyn Napier? He was the Crawley family friend who introduced them to Turkish ambassador Kemal Pamuk — who died in Lady Mary’s bed — way back in Season 1. Well, he’s coming back. And hopefully the friend he’s bringing with him this time has a healthier ticker. Evelyn’s pal is named Charles Blake, and he’s full of ideas about how to run Downton more efficiently…just like Matthew was before his untimely end. But unlike Matthew Mary despises him. However, if you think about it, she wasn’t really keen on her eventual husband at the start of Season 1, either. "There's a bit of a difference," Neame says. "Mary objected to the law making Matthew the heir to Downton. Blake is someone she just doesn't like. He's modern-thinking but does not share the family's sentimentality about the past."
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The Black Keys star Dan Auerbach is embroiled in a messy divorce battle with his estranged wife, who allegedly attempted suicide during their turbulent marriage. Auerbach split from Stephanie Gonis earlier this year (13), and now they have filed legal documents to end their union.
In the paperwork, the musician accuses his former partner of trying to commit suicide by slashing her legs in front of their young daughter, Sadie, while Gonis claims she was pushed to harm herself after years of turmoil in the couple's relationship.
According to documents, obtained by TMZ.com, Gonis has admitted herself to a treatment centre in a bid to overcome her issues.
Auerbach has been handed temporary custody of their little girl, while Gonis has supervised visitation rights.
It is not the only messy court battle Auerbach is caught up in - he was named in rock rival Jack White's custody suit against Karen Elson as The White Stripes star doesn't want his kids attending the same school as Sadie.
The request comes after years of resentment between Auerbach and White, who accuses The Black Keys star of copying the music and moniker idea of his own former duo, The White Stripes.